DOCSLIB.ORG

First Major Photography Survey in 27 Years to Open at Wadsworth Atheneum Museum of Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
First Major Photography Survey in 27 Years to Open at Wadsworth Atheneum Museum of Art FOR IMMEDIATE RELEASE Media Only: Amanda Young, (860) 838-4082, [email protected] Taryn Bunger, (860) 838-4081, [email protected] First Major Photography Survey in 27 Years to Open at Wadsworth Atheneum Museum of Art “Collecting is a curious vice, it changes your whole life—your whole way of looking at the world.” – Samuel J. Wagstaff Jr. 1978 Hartford, Conn. (Aug. 15, 2016) – In the first major photography survey displayed at the museum in 27 years, the Wadsworth Atheneum Museum of Art will present, “The Thrill of the Chase: The Wagstaff Collection of Photographs at the J. Paul Getty Museum,” Sept. 10 through Dec. 11. The exhibition offers a selection of nearly 100 photographs from the personal collection of Samuel J. Wagstaff Jr. (American, 1921–1987), and spans the history of photography over 150 years, tracing the artistic and technical development of this art form through the eye of an influential collector. “The Wagstaff Collection of Photographs” is especially relevant to the Wadsworth Atheneum in that Wagstaff served as the museum’s curator of paintings, prints and drawings from 1961–68, becoming a senior curator in 1967. “Sam Wagstaff as Curator”—a companion display of more than 30 works from the Wadsworth Atheneum’s permanent collection—will accompany the exhibition. “The importance of this exhibition to the Wadsworth Atheneum lies not only in the fact that it has been more than a quarter century since we have largely exhibited the medium of photography, but that this collection was lovingly and expertly gathered by a man who worked within our own museum walls,” said Emily Hall Tremaine Curator of Contemporary Patricia Hickson. “This exhibition serves as an examination of the art of building a collection, but perhaps more pointedly as a tribute to a man who established the photography market and drove it to great heights.” “The Wagstaff Collection of Photographs” will illustrate Wagstaff’s prowess as a collector through dozens of works by well-known photographers such as Diane Arbus, Julia Margaret Cameron, Edgar Degas, Walker Evans, Dr. Harold Edgerton, Robert Frank, William Klein, Gustave Le Gray and William Henry Fox Talbot. “Sam Wagstaff as Curator” will explore the impact Wagstaff specifically had on the Wadsworth Atheneum through his organization of innovative exhibitions, his acquisition of cutting-edge art, and his contributions to scholarship and the eventual formation of the museum’s groundbreaking MATRIX program. A leading art curator, patron, and collector, Wagstaff was born in New York City in 1921 to a socially prominent family. After graduating from Yale University, he joined the US Navy in 1941 and took part in the D-Day landing at Omaha Beach in World War II. He later earned a Wadsworth Atheneum Museum of Art 600 Main Street Hartford, CT 06103 thewadsworth.org master’s degree in art history at the Institute of Fine Arts at New York University. Wagstaff was an art history fellow at the National Gallery of Art, Washington D.C. (1959-61) before becoming a curator at the Wadsworth Atheneum (1961–68) and at the Detroit Institute of Arts (1968–71), where he championed contemporary art with innovative acquisitions and exhibitions. In the early 1970s, Wagstaff’s romantic relationship with then-unknown photographer Robert Mapplethorpe (American, 1946–1989) ignited the collector’s love of photography. Wagstaff became obsessed with acquiring photographs, and in the decade that followed he assembled a private collection recognized for its quality and breadth. His collection of photographs serves as a complex self-portrait of the man who assembled it as well as an extraordinary survey of the history of photography. Wagstaff’s collecting interests ranged from the experimental beginnings of photography in the mid-19th century to the works of contemporary artists. Traveling to London and Paris frequently to attend auctions and search secondhand shops and flea markets, he collected photographs by recognized British, French, and American masters as well as unknown makers. He promoted photography as an art form by exhibiting, publishing and lecturing on his holdings. Wagstaff studied the collections at the Metropolitan Museum of Art and the Museum of Modern Art in New York and delighted in discovering artists who deserved attention but were not on the institutional radars of major museums. His broad and idiosyncratic taste gave other collectors and curators the courage to look beyond established names and expand the canon. A high point came when he organized the exhibition, “Photographs from the Collection of Sam Wagstaff,” which opened in 1978 at the Corcoran Gallery of Art in Washington, D.C., before touring to 17 other locations. Wagstaff’s reputation as an arbiter of taste provided an impetus for museums to collect and for scholars to study this long-neglected medium. When he sold his collection to the J. Paul Getty Museum in 1984 for $5 million, it became the foundation of the museum’s new Department of Photographs. It still remains the Getty Museum’s largest holding of art from a single source. After the exhibition closes in Hartford, it will travel to the Portland Museum of Art in Maine, where it will be on view Feb. 1 through April 30, 2017. Public Programs Docent-guided tours of “The Wagstaff Collection of Photographs” are Oct. 1–Dec. 11 on Saturdays and Sundays at 2:30 p.m. A panel discussion with Paul Martineau (exhibition curator and Associate Curator of Photographs, J. Paul Getty Museum), Denise Bethel (former Chairman of Photograph’s, Sotheby’s) and Gerald Incandela (artist) moderated by James Meyer (Deputy Director and Chief Curator, Dia Art Foundation) is October 12 at 6 p.m. preceded by exhibition viewing and a public reception at 5 p.m. Gallery talks related to the exhibition are Oct. 21, Oct. 27 and Nov. 4 at noon. Second Saturdays for Families explores photographic themes on Nov. 12 from 10 a.m.–1 p.m. Mark Osterman (Photographic Process Historian at the George Eastman Museum) gives a talk titled, “The Photographic Object,” Nov. 16 at 6 p.m. preceded by exhibition viewing and a public reception at 5 p.m. For more information visit https://thewadsworth.org. Publication A 193-page, full-color illustrated catalogue featuring essays by Paul Martineau and art historian Wadsworth Atheneum Museum of Art 600 Main Street Hartford, CT 06103 thewadsworth.org Eugenia Parry accompanies the exhibition. The book is available for $59.95 in the Museum Shop and online at www.wadsworthshop.org. Exhibition Credit This exhibition has been organized by the J. Paul Getty Museum, Los Angeles. Generous support comes from the David T. Langrock Foundation, The Robert Mapplethorpe Foundation, the William O. and Carole P. Bailey Exhibition Fund, the Howard Fromson Exhibition Fund, and the Larsen Photography Fund. Educational programming is supported by the Joseph and Robert Cornell Memorial Foundation Fund. Additional support provided by Jeffrey G. Marsted and Marcia Reid Marsted. The Wadsworth Atheneum is supported in part by the Greater Hartford Arts Council’s United Arts Campaign. About the Wadsworth Atheneum Museum of Art Founded in 1842, the Wadsworth Atheneum Museum of Art is the oldest continuously operating public art museum in the United States. The museum’s nearly 50,000 works of art span 5,000 years, from Greek and Roman antiquities to the first museum collection of American contemporary art. The Wadsworth Atheneum’s five connected buildings—representing architectural styles including Gothic Revival and modern International Style—are located at 600 Main Street in Hartford, Conn. Hours: Wednesday – Friday: 11 a.m. – 5 p.m.; Saturday and Sunday: 10 a.m. – 5 p.m. Admission: $5 – 15; discounts for members, students and seniors. Free for Hartford residents with ID. Free “happy hour” admission for all visitors 4 – 5 p.m. Public phone: (860) 278-2670; website: thewadsworth.org. # # # Note to editors: High-resolution image files to accompany publicity of this exhibition are available for download at http://press.thewadsworth.org. Please email [email protected] for log-in credentials. Wadsworth Atheneum Museum of Art 600 Main Street Hartford, CT 06103 thewadsworth.org .
Load more

Recommended publications
  • A Finding Aid to the Samuel J. Wagstaff Papers, Circa 1932-1985, in the Archives of American Art
    A Finding Aid to the Samuel J. Wagstaff Papers, circa 1932-1985, in the Archives of American Art Catherine S. Gaines Funding for the digitization of this collection was provided by the Terra Foundation for American Art December 13, 2006 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Correspondence, 1932-1986.................................................................... 5 Series 2: Writings, 1961-1983................................................................................ 25 Series 3: Miscellaneous Papers and Artifacts,
    [Show full text]
  • Course Reader
    Media Studies: Archives & Repertoires Mariam Ghani / Spring 2016 COURSE READER • Michel Foucault, “The historical a priori and the archive” from The Archeology of Knowledge (1971) • Giorgio Agamben, “The Archive and Testimony” from Remnants of Auschwitz (1989) • Giorgio Agamben, “The Witness” from Remnants of Auschwitz (1989) • Mariam Ghani, “Field notes for 'What we left unfnished': The Artist and the Archive” (Ibraaz, 2014) * recommended • Jacques Derrida, “Archive Fever: A Freudian Impression” (Diacritics, 1995) • Alan Sekula, “The Body and the Archive” (October, 1986) • Walter Benjamin, “Theses on the Philosophy of History” (1937) • Alan Sekula, “Reading an Archive” from The Photography Reader (1983) *recommended • Hal Foster, “An Archival Impulse” (October, 2007) *recommended • Okwui Enwezor, “Archive Fever: Photography Between History & the Monument” (2007) * recommended • Matthew Reason, “Archive or Memory? The Detritus of Live Performance” (New Theatre Quarterly, 2003) • Xavier LeRoy, “500 Words” (Artforum, 2014) • “Bird of a Feather: Jennifer Monson's Live Dancing Archive” (Brooklyn Rail, 2014) • Gia Kourlas, “Q&A with Sarah Michelson” (Time Out NY, 2014) • Gillian Young, “Trusting Clifford Owens: Anthology at MoMA/PS1” (E-misférica, 2012) • “The Body as Object of Interference: Q&A with Jeff Kolar” (Rhizome, 2014) *rec • Anthology roundtable from the Radical Presence catalogue (2015) *rec • Pad.ma, “10 Theses on the Archive” (2010) • Ann Cvetkovich, “The Queer Art of the Counter-Archive” from Cruising the Archive (2014) • Diana
    [Show full text]
  • © 2016 Mary Kate Scott ALL RIGHTS RESERVED
    © 2016 Mary Kate Scott ALL RIGHTS RESERVED THE PHOTOGRAPHY OF ABSENCE: DEATH IN POSTMODERN AMERICA By MARY KATE SCOTT A dissertation submitted to the Graduate School-New Brunswick Rutgers, the State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Art History Written under the direction of Andrés Zervigón And approved by ________________________________________ ________________________________________ ________________________________________ ________________________________________ New Brunswick, New Jersey January 2016 ABSTRACT OF THE DISSERTATION The Photography of Absence: Death in Postmodern America By MARY KATE SCOTT Dissertation Director: Dr. Andrés Zervigón It is a paradox that postmodern photographic theory—so thoroughly obsessed with death—rarely addresses intimate scenes of explicit death or mortality. Rather, it applies these themes to photographs of living subjects or empty spaces, laying upon each image a blanket of pain, loss, or critical dissatisfaction. Postmodern theorists such as Rosalind Krauss and Geoffrey Batchen root their work in the writings of Roland Barthes, which privilege a photograph’s viewer over its subject or maker. To Barthes’ followers in the 1980s and 1990s, the experiences depicted within the photograph were not as important as our own relationships with it, in the present. The photographers of the Pictures Generation produced groundbreaking imagery that encouraged the viewer to question authority, and even originality itself. Little was said, though, about intimacy, beauty, the actual fact of death, or the author’s individual experience. However, a significant group of American art photographers at the end of the twentieth century began making works directly featuring their own personal experiences with mortality.
    [Show full text]
  • THE STORY of LAND ART a Film by James Crump
    VITO ACCONCI CARL ANDRE GERMANO CELANT PAULA COOPER WALTER DE MARIA VIRGINIA DWAN GIANFRANCO GORGONI MICHAEL HEIZER NANCY HOLT DENNIS OPPENHEIM CHARLES ROSS PAMELA SHARP WILLOUGHBY SHARP ROBERT SMITHSON HARALD SZEEMANN LAWRENCE WEINER THE STORY OF LAND ART a film by james crump PRESENTED BY SUMMITRIDGE PICTURES AND RSJC LLC PRODUCED BY JAMES CRUMP EXECUTIVE PRODUCER RONNIE SASSOON PRODUCER FARLEY ZIEGLER PRODUCER MICHEL COMTE EDITED BY NICK TAMBURRI CINEMATOGRAPHY BY ALEX THEMISTOCLEOUS AND ROBERT O’HAIRE SOUND DESIGN AND MIXING GARY GEGAN AND RICK ASH WRITTEN AND DIRECTED BY JAMES CRUMP photograph copyright © Angelika Platen, 2014 troublemakers THE STORY OF LAND ART PRESS KIT Troublemakers: The Story of Land Art A film by James Crump Featuring Germano Celant, Walter De Maria, Michael Heizer, Dennis Oppenheim, Robert Smithson, Nancy Holt, Vito Acconci, Virginia Dwan, Charles Ross, Paula Cooper, Willoughby Sharp, Pamela Sharp, Lawrence Weiner, Carl Andre, Gianfranco Gorgoni, Harald Szeemann. Running time 72 minutes. Summitridge Pictures and RSJC LLC Present a Film by James Crump. Produced by James Crump. Executive Producer Ronnie Sassoon. Producer Farley Ziegler. Producer Michel Comte. Edited by Nick Tamburri. Cinematography by Alex Themistocleous and Robert O’Haire. Sound Design Gary Gegan and Rick Ash. Written and Directed by James Crump. Troublemakers unearths the history of land art in the tumultuous late 1960s and early 1970s. The film features a cadre of renegade New York artists that sought to transcend the limitations of paint- ing and sculpture by producing earthworks on a monumental scale in the desolate desert spaces of the American southwest. Today these works remain impressive not only for the sheer audacity of their makers but also for their out-sized ambitions to break free from traditional norms.
    [Show full text]
  • FILM MANUFACTURERS INC. Presents MAPPLETHORPE: LOOK at the PICTURES a Film by Fenton Bailey & Randy Barbato
    FILM MANUFACTURERS INC. Presents MAPPLETHORPE: LOOK AT THE PICTURES A film by Fenton Bailey & Randy BArbAto BERLINALE SCREENING SCHEDULE (PREMIERE) Sunday, February 14th at 5:00 PM @ (P&I SCREENING) Sunday, FebruAry 14th At 9:00 PM @ Running Time: 1:48:24 minutes For press materials, please visit: Press ContAct Press ContAct Public Insight Dogwoof Andrea Klasterer Yung Kha Office: +49/ 89/ 78 79 799-12 Office: +44(0)20 7253 6244 Andrea cell: +49 163 680 51 37 Yung cell: +44 7788546706 Email: [email protected] Email: [email protected] InternAtionAl Sales InternAtionAl Press DOGWOOF [email protected] Vesna Cudic [email protected] / +44 7977 051 577 www.mapplethorpefilm.com www.facebook.com/MapplethorpeFilm www.twitter.com/Mapplethorpedoc www.filminc.com MAPPLETHORPE: LOOK AT THE PICTURES A film by Fenton Bailey & Randy Barbato SHORT SYNOPSIS MAPPLETHORPE: LOOK AT THE PICTURES is the first definitive, feature length portrait of the controversial artist since his untimely death in 1989. A catalyst and an illuminator, but also a magnet for scandal, Robert Mapplethorpe had but one goal: to ‘make it’ as an artist and as an art celebrity. He could not have picked a better time: the Manhattan of Warhol’s Factory, Studio 54, and an era of unbridled hedonistic sexuality. His first solo exhibition in 1976 already unveils his subjects: flowers, portraits and nudes. Mapplethorpe quickly gains notoriety through his explicitly sexual photographs from the gay sadomasochistic scene as well as nude pictures of black men. Directors Fenton Bailey and Randy Barbato were given unrestricted access to Mapplethorpe’s archives for their documentary Mapplethorpe: Look at the Pictures, in which this exceptional artist talks candidly about himself in recently discovered interviews.
    [Show full text]
  • Black White + Gray: a Portrait of Sam Wagstaff and Review - Variety.Com 08/04/2007 10:52 PM
    Black White + Gray: A Portrait of Sam Wagstaff and Review - Variety.com 08/04/2007 10:52 PM VARIETY INDUSTRY NEWS WEB Search DIGITAL VARIETY > SUBSCRIBE > LOGIN > SEARCH POWERED BY: DEPARTMENTS SECTIONS FEATURED LINKS FILM TV INT'L BIZ MUSIC TECH LEGIT HOME ENT. V PLUS REVIEWS BLOGS MORE Women's Impact Report FILM Posted: Wed., May 9, 2007, 8:11pm PT Tribeca Black White + Gray: A Portrait of Sam Wagstaff and Robert Mapplethorpe (Documentary) Weekly Variety By JAY WEISSBERG Without the smudgy fingers CLICK COVER FOR DIGITAL EDITION An LM Media GmbH, Arthouse Films production. Produced by James Crump. Executive producers, Stanley Buchthal, David CLICK HERE FOR ARCHIVES Koh, Maja Hoffmann. Directed, written by James Crump. FAQ With: Patti Smith, Dominick Dunne, Tukey Koffend, Jeffrey Fraenkel, Eugenia Parry, Pierre Apraxine, Philippe Garner, PAST ISSUES: Timothy Greenfield-Sanders, Jean-Jacques Naudet, John Szarkowski, Ingrid Sischy. Wednesday 08/01/2007 Narrator: Joan Juliet Buck. Thursday 08/02/2007 Friday 08/03/2007 Novice helmer James Crump explores the complex relationship between two major forces in the photography world in "Black White + Gray: A Portrait of Sam Wagstaff and Robert Mapplethorpe." -- Advertisement -- Seeking to restore Wagstaff's significance not just to Mapplethorpe's career but to the art market in general, Crump gathers an impressive roster of commentators and friends, though his narrowed focus means certain elements get passed over or misinterpreted. Still, he succeeds in capturing multiple aspects of a complex, charismatic man, ensuring play in art centers and fests before likely PBS broadcast. Born into privilege and groomed for a life of conservative ease, Wagstaff chucked off his reputation as "the debs' darling" and dove into the art scene, making his mark as an iconoclastic curator with exhibitions celebrating late- flowering Abstract Expressionism and burgeoning Minimalism.
    [Show full text]
  • WA MATRIX 182 Brochure
    WA MATRIX 182 Brochure-4.qxp_WA MATRIX 182 Brochure 5/24/19 9:58 AM Page 1 TOM BURR anxiety and Bodies have alwa edges of what I m that produce the MATRI X 182 from the period 2 approximations o to architecture a HINGED FIGURES work which I refe one gallery, I wan museum, where t distinct architect In the early 1990 context for quee privatization of u un-speculated co for queer people At the same time form, specifically person’s body as intended for you, I consciously ado this period, in ord my own ends. 1 The hinged figure forms and how bo that they inhabit Mapplethorpe on architectural frag human figure. Th propped or pinne allows the armat The first persona physical and men 1970s, the unrav occurring under a JUNE 6 – SEPTEMBER 8, 2019 COVER: CHICKS (DETAIL), 200 INSTALLATION VIEW, WADSWORTH ATHENEUM MUSEUM OF ART SCULPTURECENTER, 2008. WA MATRIX 182 Brochure-4.qxp_WA MATRIX 182 Brochure 5/24/19 9:58 AM Page 2 BENT, BANDAGED, BEAT UP, B anxiety and figuration PHOTO: COURTESY BORTOLAM RR Bodies have always been part of my work, lurking just outside the frame, or along the edges of what I make. Specific bodies, and the spaces they inhabit, and the conditions that produce them, have been my main focus. The works in this exhibition are mostly 82 from the period 2005–2010, when I grappled directly with figuration, and with approximations of bodily form, form that was never autonomous, and always tethered to architecture and the work’s immediate context.
    [Show full text]
  • Get the Classic #1
    # 01 THE SPRING 2019 CLASSICA free magazine about classic photography In this issue THE DENNIS HOPPER ARCHIVE ROBERT HERSHKOWITZ MARTIN BARNES THE ALEX NOVAK COLLECTION OF EARLY NEGATIVES FAIRS, AUCTIONS, EXHIBITIONS AND MORE 1 The photography department of the 5th ranked French auction house Millon, has been organizing exhibitions and auctions of collections, archives and estates, and specialized thematic sales for 25 years. The department’s specialty are the monographic auctions of great photographers of the 19th and 20th centuries. These auctions have resulted in record prices on the art market. Results from some of these auctions*: Succession Brassaï 2006 – 4,206,550 € Blanc & Demilly 2008 – 346,165 € Ilse Bing 2009 – 435,650 € Frédéric Barzilay 2014 – 57,250 € Edouard de Campigneulles 2016 – 334,580 € Les Frères Séeberger 2016 – 279,580 € Succession Galerie Gérard Lévy 2016 – 1,732,260 € Claude Raimond-Dityvon 2018 – 137,110 € To consign in one of our upcoming auctions please contact: Expert: Millon Head of Department: Christophe Goeury Natalia Raciborski +33 (0)6 16 02 64 91 +33 (0)7 88 09 91 86 [email protected] [email protected] MILLON, 19 rue de la Grange Batelière, 75009 Paris, France www.millon.com Bud Fraker, Audrey Hepburn for “Breakfast at Tiffany’s”, 1961. Vintage silver gelatin print. MILLON – SVV Agrément n°2002-379 *Results are indicated without the buyer’s premium 3 In this issue Distributors 04 IN BRIEF LOS ANGELES The Fahey/Klein Gallery 10 PREVIEW LONDON MAY 148 North La Brea between 1st Street The Special
    [Show full text]
  • Mapplethorpe: Assault with a Deadly Camera — Take 5: Popping Culture Manuscript TAKE 5 © Jackfritscher.Com POPPING CULTURE, DRUGS, and SEX the LEATHERSEX YEARS1
    How To Quote This Material ©Jack Fritscher www.JackFritscher.com Mapplethorpe: Assault with a Deadly Camera — Take 5: Popping Culture Manuscript TAKE 5 © JackFritscher.com POPPING CULTURE, DRUGS, AND SEX THE LEATHERSEX YEARS1 Robert Mapplethorpe’s cultural biography I know by heart because his profile in American popular culture mirrored my own. We led parallel lives up to the time we met: we knew the same people, places, events, and shared the same interests. My life contained itself in university teach- ing, writing, photography, the sexual liberation front, and the study of American popular culture. I participated in the founding of the American Popular Culture Association at Bowling Green University in 1967. In his Journal of Popular Culture, Ray Browne published my pop-critical articles on 2001: A Space Odyssey, and Hair, the musical written by then idols Gerome Ragni and James Rado, who also appeared naked with superstar Viva on the very first cover of Warhol’s Interview magazine. In 1969, the Popular Culture Press contracted me to write the nonfiction book Popular Witchcraft: Straight from the Witch’s Mouth, which included the Mapplethorpe icon, Jim Morrison. To Mapplethorpe’s undying wonder, I shared with Jim Morrison the “gentleman’s grace” of the same Sausalito tailor for black leather trousers. The tailor, a high school classmate of Morrison’s, broke in his leather by wearing it first. Mapplethorpe was about five feet ten inches and 150 pounds, hung about six inches, virtually without body hair, so he was not threatening to women or gay men in a decade in which “threat” meant “sexy.” In quite a calculating manner, Robert used the sugar of the camera (to lure gay white boys) and the sound of money (to lure straight black men) to compensate for his venial sex appeal.
    [Show full text]
  • Table of Contents
    Volume 18, Number 3 - Summer 2014 Table of Contents Contents Honoring Alex Doty Graduate students Betsy Jose and Russell Sheaffer honor their mentor with special contributions to The Kinsey Institute Archives. Tierney Lorenz Receives Awards Dr. Lorenz acknowledged for her work on sexual behavior and the immune response. In the Kinsey Gallery This Fall The Taste of Seduction, and Undress Me: A Peek at 19th and 20th Century Undergarments. Mapplethorpe Show Opens October 10 Contribute to archival framing for this show through Adopt-a-Work-of-Art. Sexual Assault Prevention Research Project Kinsey researcher Dr. Justin Garcia co-leads new project at IU to address sexual assaults on campus. John Money Fellow: Liam Lair Tracing 20th-century formulations of transgender. Welcome Dr. Amanda Gesselman Anonymous photographer, France. Woman in undergarment, c.1920. Photograph in postcard Postdoctoral fellow brings special skills in researching the 'romantic couple.' format. Did you miss the Juried Art Show? Visit our YouTube channel to watch our Opening Night and Artists Show & Tell videos. The mission of The Kinsey Institute is to promote interdisciplinary research and scholarship in the fields of human sexuality, gender, and reproduction. The Institute was founded in 1947 by renowned sex researcher Alfred Kinsey. Today, the Institute has two components, an Indiana University research institute and a not-for-profit corporation, which owns and manages the Institute's research data and archives, collections, and databases. Honoring Alex Doty Alexander Doty, professor in the Departments of Communication and Culture and Gender Studies at Indiana University and a member of The Kinsey Institute Board of Trustees, died in August 2012, after being struck by a motorcycle while vacationing in Bermuda.
    [Show full text]
  • FLESH and SPIRIT Robert Mapplethorpe, Sam Wagstaff, and the Gay Sensibility
    FLESH AND SPIRIT Robert Mapplethorpe, Sam Wagstaff, and the Gay Sensibility Philip Gefter COMING OF AGE n the early 1970s the medium of photography gained new stature among the fine arts. Museums and art schools in the United States began to establish autonomous photography departments; several commercial galleries now showed photography exclusively; and an unforeseen market for photography was emerging in the art world. This Inewlyexpanded regard for photography as a fine art occurred simultaneously with the growing visibility of the gay-rights movement. Although it is worth noting that photography and homosexuality surfaced, respectively, from the margins of artistic legitimacy and mainstream society, this concurrence was nothing more than a coincidence of timing. And yet by the end of that decade the influence of what has come to be identified as a “gay sensibility”—manifest in the relationship of Robert Mapplethorpe and Samuel J. Wagstaff Jr. (plate 7)—would become an indelible ingredient in photography’s coming of age. Sam Wagstaff and Robert Mapplethorpe met in1972 ; Wagstaff was fifty years old, Mapple- thorpe was half his age. They were to become one of the celebrated couples of the twenti- eth century—not only because they were glamorous, and not only because they were gay. As lovers, they did not adhere to monogamy; as committed partners, their deep emotional bond by no means conformed to the conventions of heterosexual marriage; but, as patron and artist, they brought co-conspiratorial fervor to securing respect for photography in the art world and also to establishing Mapplethorpe’s career as an artist. As a respected curator of painting and sculpture throughout the 1960s, first at the Wadsworth Atheneum Museum of Art in Hartford and then at the Detroit Institute of Arts, Wag- staff had a more influential role in shaping art history in the last half of the twentieth century than is widely understood.
    [Show full text]
  • 2007 Brochure
    20TH ANNIVERSARY SEPTEMBER 6-16, 2007 SEPTEMBER 6-16, 2007 20TH ANNIVERSARY Festival Information VENUES Opening Night (September 6) 20TH ANNIVERSARY Centerpiece Night (September 12) Oriental Theatre, 2230 N. Farwell Ave. All Other Screenings (unless noted) Union Theatre, located in the UWM Union 2200 E. Kenwood Blvd., 2nd floor, on the UWM campus TICKETS & PASSES Festival Pass: $100 Free admission to ALL screenings—thanks for supporting the Festival! Fiver Pass: $28/general & $20/students & seniors SEPTEMBER 6-16, 2007 Five shows for the price of four: good for any five shows at the Union Theatre. Opening Night Tickets: $15/$10 students & seniors PRESENTED BY Includes post-screening reception Centerpiece Night Tickets: $10/$8 students & seniors Includes post-screening reception Peck School of the Arts Union Theatre Screenings: $7/$5 for students, seniors, and members of the UWM campus community unless otherwise indicated. Department of Film These tickets may be purchased in advance from the Peck School box office or at the Union Theatre box office, open one half hour prior to Greater Milwaukee Foundation’s screenings. ADVANCE PURCHASE Johnson & Pabst LGBT Humanity Fund UWM Peck School of the Arts Box Office All tickets & passes UWM Union Programming Call: (414) 229-4308 Stop in: UWM LGBT Resource Center Helene Zelazo Center for the Performing Arts, 2419 E. Kenwood Blvd. (free short term parking outside box office entrance at the south side of the building) Hours: M-F, 12 10 am-4 pm (through August 31) T-F, 10 am-5 pm (beginning September 4) Outwords, 2710 N. Murray St. Festival & Fiver Passes and Opening Night & Centerpiece tickets Oriental Theatre, 2230 N.
    [Show full text]